Word: exhibited
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Dates: during 1970-1979
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Because the Radcliffe Collector's Discerning Eye exhibit could have accomplished so much toward this goal and it didn't, it is a source not of pride but of frustration and disappointment. The exhibit was created by and about Radcliffe women and yet it lacks a sense of its own identity or reason for being. It is surprising that a committee of 18 dedicated women working for nearly three years with a budget of $20,000 could finally produce a show in which the women whose interest in art is being celebrated remain so anonymous...
Even so trivial a matter as the way in which lenders to the exhibit wished to be acknowledged begins to take on a symbolic importance after one has walked through the show three or four times. Thirty-one of the 79 contributors wished to remain anonymous. Another 19 listed themselves as Mr. and Mrs. or Mrs. and used the husband's name with the woman's maiden name underneath in parentheses, as if the two names belonged to different people. This is admittedly a small point and doubtless caution overcame pride for many of the collectors but nevertheless...
...searches in vain for evidence of the discerning mind behind the educated eye. Who are these women? What does art mean to them? Why do they collect--as an investment, out of love of art, because of avarice or noblesse oblige? All of these questions are raised by the exhibit and nowhere are they answered. The lavish and no doubt expensive catalogue merely reproduces in photographs the objects displayed in the Fogg's galleries. Why? For posterity's sake? Posterity would have been far better served if some record had been made of the attitudes and motives that prompted these...
...ORGANIZERS of the M.I.T. exhibit have deliberately chosen works that reveal the range and variety of Brassai's interests. There are scenes of Paris at night and portraits of Brassai's friends and fellow artists--Picasso, Braque, Matisse, Giacometti--surrounded in their studios by their paintings and tools. Several examples of Brassai's graffiti, pictures of the signs and symbols men have carved into or painted on the urban environment to proclaim their existence, are shown...
There is also a section devoted to twelve of Brassai's experiments with cliche verre. These pictures are perhaps the most interesting in the exhibit because they are the least known. The cliche verre process consists basically of scratching lines on a glass plate that has been covered with a thick emulsion and then placing the plate over photographic paper and exposing it to light. The light is able to penetrate through the scratch marks, but not the emulsion and creates a print on the paper. Brassai combined the man-made images created by cliche verre with mechanically produced photographs...